作者：Asya Sevdalinova Dzhankova

傅文俊，中国当代艺术家，毕业于四川美术学院，主要从事摄影、装置、雕塑和油画的艺术创作，提出并创立了“数绘摄影”艺术流派。
其作品多呈现艺术家对东西方历史、文化、人文方面诸多问题的思考与反思，包括全球化背景下不同文化间的相互关系、中国传统在快速变革社会中的遗存与传承、中国社会的工业化与城市化进程等等。
他曾在欧洲现代艺术博物馆、中国美术馆、圆明园遗址博物馆、今日美术馆、美国纽约联合国总部、广东美术馆等地举办个人展览；受邀参加罗马视觉艺术三年展、伦敦艺术双年展、首届地中海国际艺术双年展、意大利三年展、首届亚洲双年展暨第五届广州三年展、第十八届塞尔维尔双年展、德国北部艺术区国际艺术大展（NordArt）、“未曾呈现的声音”第55届威尼斯国际艺术双年展平行展等重要国际艺术展览。

A-ARTNESS SYSTEM, F-傅文俊

A：您好傅文俊先生，很高兴您接受我们的采访。您可以谈谈您的艺术经历吗？我们看到，您已经在世界多地举办过个人展览，作品在全球范围内被收藏。您是和您的团队一同工作吗？
F：您好，首先感谢您对我的艺术的欣赏，并很荣幸接受您的采访。
从事摄影工作三十余年，提出并创立了数绘摄影，这种新的艺术语言，并使它成为一个流派。现在我从事跨界艺术创作，以数绘摄影为主，还涉及包括油画、雕塑、装置等艺术创作。
我认为艺术创作的主观性是很强的，也有即兴的因素在里面，我通常是一人工作，没有团队。我不喜欢工厂式的商业化的艺术输出，每件艺术都是唯一的。           

A：您的艺术受到哪种创造性灵感的激发而出现？您如何通过艺术传递您的信息/观念？
F：我想人们都对艺术家灵感来源的问题一直都很感兴趣。但这个问题真的很难回答，我不是要故弄玄虚，只是艺术家有时可能不会清楚地知晓到底是什么启发了他去这样做，而不是去那样做。灵感撞上我的时候，我可能都不知道，只是下意识地觉得应该沿这个方向进行下去罢了。
对我而言，灵感是艺术创作中的偶然性。与此相比，对人类社会、历史、文化、科学等等方面知识的了解，和对当下社会现状、发展趋势、面临问题的关注与思索，会为艺术创作提供更为丰富的源泉。我的数绘摄影，这是我自己提出的一种当代摄影艺术流派和风格，它在摄影中融入绘画性元素，与绘画、雕塑、装置等其他艺术形式建立对话，延展摄影艺术的边界。重要地是，数绘摄影是以观念艺术为基础的摄影艺术，重点是要传递我的观念，对全球的或地区的历史、文化、人文、艺术、自然等种种议题的思考与反思。我一直认为，好的艺术作品，外在形式之美固然重要，但存在的意义，是它能够激发出人们的思考。或许是那些人们习以为常，却未曾从另一个角度想想的事物。

A：您正在从事怎样的创作？
F：2018年10月12日-11月25日美国戴尔瑞艺术中心为我举行了数绘摄影个人展览，题目为《这是摄影吗？》诚然，我的许多观众在看到这些作品时，都惊讶地问我这个问题，“这看起来不像摄影的摄影，这是摄影吗？”他们的反应其实也在意料之中，人们已经对摄影建立了根深蒂固、自然反应式的判断标准。而我并不认同这种方式是唯一性的，摄影艺术还会有多种呈现方式，我做了很多尝试去拓宽摄影艺术的边界，去挖掘摄影艺术更多丰富的可能性，也希望让观众看到这些“新奇”的摄影。我现在的数绘摄影艺术创作还在做更深入的思考和进一步的探索。

A：您可以谈谈您的下一个项目计划吗？您打算涉及哪方面的问题？
F：这个问题其实上面已经谈到了，目前我的创作重点便是数绘摄影，如何在它已有的多种样貌的基础上，挖掘出摄影艺术更为深层次的表现可能与这种媒介在当代艺术中的魅力，并且更有力地、与数绘摄影更为融合性地表达出我一直关注的种种议题的许多观念、思考与反思。争取在这个方面还会有更大的突破。

A：您能以您的方式针对全球艺术市场与年轻艺术家分享一些心得吗？
F：与区域性的艺术市场相比，全球艺术市场相当广阔但也更为复杂。有人说，做艺术就是做买卖。这话我认为倒是有一些道理。但艺术家决不是商人，艺术品有商品属性，但它的艺术价值是其他商品无法比拟的。所以，我觉得作为艺术家，无论初入行业，还是已有成就，最应该始终坚持的便是认真对待，做好艺术，持之以恒，坚持对艺术的信仰。艺术的探索和创作永无止境。


ARTNESS SYSTEM: Significant Contemporary Approach
by Asya Sevdalinova Dzhankova

Fu Wenjun, Chinese contemporary artist, was graduated from Sichuan Fine Arts Institute. He creates principally through the art media of conceptual photography, installation, sculpture and oil painting, and has put forward the concept of "Digital Pictorial Photography".
Fu Wenjun’s works embody his thinking and reflection on many issues related to the Eastern and Western history, culture and humanity, including the relationship between different cultures in the age of globalization, the heritage of traditional Chinese culture in a rapidly changing society, industrialization and urbanization in Chinese cities.
He has presented solo exhibitions at the Museu Europeu de Arte Moderno (Barcelona), the National Art Museum of China (Beijing), the Old Summer Palace (Beijing), at the Today Art Museum (Beijing), at theUnited Nations Headquarters (New York), at the Guangdong Museum of Art (Guangzhou) and at other international art organizations. His works are exhibited at significant international exhibitions, such as the Triennale dell'Arte Contemporanea, the 1st Asia Biennial / 5th Guangzhou Triennial, the XVIII Bienal de Cerveira, NordArt, the collateral exhibition of Biennale di Venezia 2013, entitled Voice of the Unseen Chinese Independent Art 1979 / Today.

Hello Fu Wenjun. Congrats to being selected as an interview artist. Could you please talk about your art background? You already selected many collection and opened many solo shows in all around. Do you work with your team?
Hello, first of all thanks for your appreciation on my art, and I am honoured to be interviewed.
I have worked on photography art for more than 30 years, and in recent years I put forward the art style Digital Pictorial Photography, a new art language and art school. Now with the focus on Digital Pictorial Photography, my art creation does cross over several disciplines, including oil painting, sculpture, installation and others.
I believe art creation is absolutely subjective, some impromptu things happen always. I work by myself, without a team. I don’t like that commercial art products seemingly produced by a factory. Each piece of artwork should be unique.

Which kind of creative inspiration does your art effected by? How do you convey messages with art?
I think almost everyone is curious about the question where the artist inspiration come from. But it’s really hard to answer. Not because I pretend to make it like secrets, just the artist sometimes does not know what inspires him to do like this, instead of like that. When the inspiration run into me, I could even don’t know. I just unconsciously follow the direction I believe could be right.
To me inspiration is a contingency in art creation. Compared with it, the knowledge of human society, history, culture, science and many other aspects, as well as artist’s attention and thinking on current social situation, development trends, problems are facing etc., would provide richer resources for his art creation. 
Digital Pictorial Photography, a contemporary fine art photography style I create, integrates the pictorial features into photography art, and places dialogues with painting, sculpture, installation and other art forms, with my intention to extend the boundary of photography art. What’s more important, Digital Pictorial Photography is a photography art style developed from the base of Conceptual Art, so its focus is to deliver my concepts/messages of my thought and reflection about global or regional issues related to history, culture, human life, art, nature and so on. I always believe, a good artwork should be beautiful, but more important why should the artwork be there is that it could inspire people to think, possibly to the things people often get used to, but to think from another ignored point of view.

What are you currently working on?
From 12 October to 25 November Dairy Arts Center in the USA presents my solo exhibition, titled “Is It Photography?” It is true that when the visitors see my artworks, they can’t help to ask me the question, “Your photographs do not look like photography indeed. Is it photography?” Their reaction is not surprising. People have conceived of a set of standard on photography, which is deeply rooted in their mind and they make a judgement unconsciously when there is a photograph in front of them. However, I don’t think this is the unique way of photography. Photography art should have various ways of presentation. I have explored a lot on extending the boundary of photography art, to find much more fascinating possibility of photography art. At the same time, let people see these “new” photography art. What I am currently working on is having deeper thinking and doing further exploration of my Digital Pictorial Photography art.

Would you talking about your upcoming projects? What issues do you plan to produce?

In fact I have mentioned this above. At this moment my creation focus is Digital Pictorial Photography. Apart from its currently existing various ways of presentation, I am working on how to achieve more possibility which could touch deeper level of photography art, and the charm of this medium among the contemporary art. At the same time, I want my works to be more expressive on delivering my concepts and reflection towards various issues on the basis of a good integration with the style Digital Pictorial Photography, so as to have a breakthrough. 

Could you please share your messages to global art market in your approach for artists who is new in the global art market?
Compared with regional art market, global art market would be wider and more complex. Someone said, do art is do business. I think it’s partly right. But artist is not businessman. Artworks do have the value as a commodity, but its artistic value is the value that other commodity don’t have. Therefore, I think being an artist, either emerging or established what he/she should insist on most and always is to treat art seriously, to do best on art, to persist on working hard, and to believe in art forever. The art exploration and creation will never stop.